The Carnegie Arts Center will present a free documentary film screening of “Garry Winogrand: All Things are Photographable.”
The showing will be at 2 p.m. Feb. 16 at the Carnegie Arts Center. Admission is free.
Artist, iconoclast, man of his time, “All Things are Photographable” is a revealing documentary portrait of the life and work of acclaimed photographer Garry Winogrand – the epic storyteller in pictures across three turbulent decades of the 20th century.
Described as a “poet,” an “athlete,” or a “philosopher” of photography, Winogrand harnessed the serendipity of the streets to capture the American 1960s and ‘70s. His Leica M4 snapped spontaneous images of everyday people, from the Mad Men era of New York to the early years of the Women’s Movement to post-Golden Age Hollywood, all while observing themes of cultural upheaval, political disillusionment, intimacy and alienation. Once derided by the critics, Winogrand’s “snapshot aesthetic” is now the universal language of contemporary image making. “Garry Winogrand: All Things are Photographable” is the first cinematic treatment of Winogrand’s work, including selections from the thousands of rolls of film still undeveloped upon his unexpected death in 1984. Interviews with Tod Papageorge, Matthew Weiner and more attest to Winogrand’s indisputable influence, both as artist and chronicler of culture, while archived conversations with Jay Maisel highlight the gruff, streetwise perspective of “a city hick from the Bronx.” In the tradition of Robert Frank and Henri Cartier-Bresson, Winogrand’s candid, psychological style transports us to a bygone world, one where image lacked the editing and control possible today.
“This is a film primarily about photography, one that explores Garry Winogrand’s tremendous contributions to the art form and his lasting influence on how we think of the medium today,” said Sasha Waters Freyer. “But it is also a film that, I hope, explores and explodes the cliché of the undomesticated, self-destructive genius – one who is fundamentally unsuited to family life. This cliché is not exclusively the domain of male artists however, it tends to break along gender lines as a source of pride for men — think Faulkner or Picasso — and a source of pity or confusion where women artists are concerned, from Virginia Woolf to Cindy Sherman.
“In looking at Winogrand in all his multidimensional human complexity, I take aim at the ‘bad dad’ and ‘bad husband’ tropes in artist biography, seeking to undermine these as sources of triumph or artistic necessity,” Freyer said. “Winogrand was an artist whose rise and fall – from the 1950s to the mid-1980s – in acclaim mirrors not only that of American power and credibility in the second half of the 20th century, but also a vision of American masculinity whose limitations, toxicity and inheritance we still struggle, culturally, to comprehend. The film ultimately invites a deeper consideration of Winogrand not only as a ‘man of his time,’ in the words of MoMA Photography curator Susan Kismaric, but also as a man struggling to define himself simultaneously as an artist and a parent, as so many of us do.”
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